Tag Archives: William H. Pine

Fear in the Night shows just how far something can get on the gimmick. Bank teller DeForest Kelley wakes up one morning from the dream he killed someone. He then discovers evidence of his crime and, as he suspects he’s going mad, starts going a little mad.

Night doesn’t have good narration–though director Shane’s script does use it consistently–and Shane isn’t much of a director, but the film intrigues. The plotting is fantastic, with Shane withholding clues for so long I was wondering if he was ever even going to explain the mystery.

Shane handles the mystery in two parts. First, whether it’s real or not and then what–if it does turn out to be real–the consequences will be for the characters. Kelley’s also got a faithful girlfriend in Kay Scott and a concerned sister in Ann Doran. Shane gives Kelly a lot to do in terms of negotiating being a good husband and a homicide cop.

As a director, Shane’s mediocre at best but does have some creative visual flourishes.

Kelly is really good, even with some questionable dialogue, and he’s able to carry the film. Sometimes he has to carry Kelley through rough scenes; Kelley isn’t very good. He has a tough role but he also isn’t very good. He’s likable, however.

The whole thing is likable… but not very good.

★

CREDITS

Directed by Maxwell Shane; screenplay by Shane, based on a story by Cornell Woolrich; director of photography, Jack Greenhalgh; edited by Howard A. Smith; music by Rudy Schrager; produced by William H. Pine and William C. Thomas; released by Paramount Pictures.

At the surface, Hollywood Extra Girl is just a promotional tie-in to Cecil B. DeMille’s The Crusades. The short’s lead, Suzanne Emery, was an extra in The Crusades and the short suggests she might make it in Hollywood just because of that inclusion.

According to IMDb, she did not.

But the short also serves to let DeMille—who has the most dialogue in the short’s eleven minutes (mostly read from cue card)—foist his ego about. His acting’s hideous, which puts that whole idea of directors making good actors into severe doubt.

The film ends not on DeMille, however, but as an advertisement for young women to come out to Hollywood and try being a star. If they fail, they can always go back home. This ending suggestion is awkward after the film showed the misery of longtime extras.

Moulton’s got some nice camera moves, but it’s DeMille’s show.

Not Recommended

CREDITS

Directed by Herbert Moulton; screenplay by Herman Hoffman, based on a story by John Flory; director of photography, Harry Fischbeck; produced by William H. Pine; released by Paramount Pictures.